Professional Documents
Culture Documents
MARY GUZOWSKI
School of Architecture, University of Minnesota, Minneapolis, MN, USA
ABSTRACT: This paper presents the findings of a qualitative daylighting case study analysis of the Renzo Piano
Building Workshop’s (RPBW’s) new Piano Pavilion at the Kimbell Art Museum. Three issues are explored: 1) Piano
and Kahn’s approaches to the daylit art gallery, 2) RPBW’s approach to integrated design, and 3) RPBW’s design
methods and tools. Research methods for the paper included 1) qualitative evaluation of design strategies, and 2)
assessment of quantitative daylight analyses by Arfon Davies at Arup (2016) and Kacel and Lau (2013). Renowned for
their commitment to design excellence, architectural innovation, and sustainable design practice, the Piano Pavilion
by RPBW in collaboration with Arup provide insights into a holistic approach to contemporary daylighting design
strategies and methods that can inform and inspire architectural practice and design education.
Keywords: daylighting, art museums, Renzo Piano Building Workshop, Piano Pavilion
CLIMATE, SITE, AND LIGHT open, and minimal in structure and detailing. In contrast,
The Kimbell Art Museum and Piano Pavilion are shaped the west wing is earth-sheltered and internally focused,
by the climate and site conditions of Fort Worth, which containing the west gallery (for light-sensitive work),
lies at 32.7° north latitude. This region of Texas auditorium, and educational spaces. In the daylit galleries
experiences the variable and dynamic weather conditions of the “pavilion,” views to the site and sky are provided
of a humid subtropical climate, with clear and sunny days through shaded south and north glass walls and
offset by brief periods of overcast skies. Temperatures translucent luminous ceilings in the galleries. Glazed
range from an average low of 44° F (7° C) in January to lobbies in both wings provide visual and physical
the average high of 84° F (29° C) in August. Fort Worth connections between the two wings. Since much of the
experiences fairly consistent daytime length throughout expansion is hidden below ground, the light-filled and
the year, with approximately 14 hours of daylight on the seemingly delicate east wing “pavilion” creates a
summer solstice and 10 hours on the winter solstice. The respectful, even humble, relationship to Kahn’s museum.
sun reaches a noon altitude of 80.8° in the summer and a
low of 33.8° in winter. The high summer sun angles
underscore the need to provide a sheltering roof to
mediate solar gains, temperatures, and light levels.
Despite the presence of sunlight on over 230 days per
year, there remains a monthly rhythm of clear and
overcast skies, including an average of 6-7 overcast days
per month (with the exception of July and August which
average 4-5 overcast days) (NOAA, 2015). The designs
of the museums foster relationships to climate, site, and
the changing qualities of light (discussed below).
KAHN AND PIANO GALLERIES further diffused through a translucent glass roof, the depth
In a 1972 film on the Kimbell, Kahn explains his desire of the beams, and the translucent scrim before reaching the
to create a quiet and contemplative sanctuary in which to concrete walls and gallery space. Piano’s luminous ceiling
experience the beauty and mystery of art in natural light acts like a parasol that protects against the direct sun but
(Falkenberg, 2013): “Every work of architecture should transmits soft diffuse light. The exterior endwall of each
be in natural light. And this [the Kimbell] in particular gallery is glazed and shaded by exterior overhangs.
because you are seeing works of art that are really
poetry.” Kahn further explained that each room has a
particular quality of light and relationship to the sun
(Falkenberg, 2013): “An architect is a composer; truly his
greatest act is that of composing and not designing. . .
Steven Douglas’ inspired statement about architecture . .
. said ‘What slice of the sun does your building have?’
and I added, ‘What slice of the sun enters your room?’”
Kahn allows a very specific “slice of the sun” to enter his
galleries, which are all the same size at 100’x23’. The
ingeniously designed skylight and reflector gathers a
small amount of direct sunlight and extends its potential
by redistributing it through multiple reflections (Figures
4 and 8). As sunlight enters the 3’-wide Plexiglas
skylight, it strikes a perforated aluminum reflector below
the skylight, which reflects diffuse light onto the silvery
concrete cycloid vaults and then back to the travertine
clad side walls. Indirect light is also diffused through the
perforated reflector to the space below. The room
becomes a light fixture with interactions between the
direct sunlight from the skylight to the reflector, ceiling,
walls, and space. Adjustable track lighting is integrated
with the reflector design, while mechanical and electrical
systems are discreetly integrated into concrete channels
in the lower space between galleries. The room Figure 4: Top: Section of Kahn gallery (Fiona Wholey and author),
proportions, skylight, and reflector designs were carefully Bottom: Kahn Gallery (Credit: Kimbell Art Museum).
tuned by Kahn and lighting designer Richard Kelly to
achieve the desired atmosphere and quantity of light.
The Kimbell (2016) and Davies (2016) estimate that PIANO DESIGN PROCESS AND TOOLKIT
the photovoltaic cells offset up to 50% of the annual Kahn and Kelly developed and refined the contemplative
carbon production from building operations and generate quality of light at the Kimbell through iterative
enough electricity to meet annual electric lighting refinement and testing of over 100 daylighting variations
demand. Integration of design goals and technological using drawings, scale models, and full-scale mock-ups
performance were considered in all aspects of the gallery (Seward, 2011). Refinements to the reflector were
detailing (Teke, 2015). Below the louvers, the roof is clad evaluated by computer analyst Isaac Goodbar from
with acid-etched krypton-filled double glazing, which Edison Price Lighting (Seward, 2011). The Piano
includes a UV filter to protect the artwork and a low- Pavilion was designed with the same spirit of iterative
emissivity film to mediate solar gains. The volume of exploration, testing, and integration. Onur Teke (2015)
space between the roof and the bottom of the laminated explains that RPBW worked with Arfon Davies and
Douglas fir beams further softens the indirect light, which associates from Arup using a “workshop approach.” This
is finally diffused through a fixed translucent fabric scrim collaboration including initial studies of Kahn’s museum,
at the lower edge of the beams. The transparency of the iterative design scenarios, quantitative analyses, and
acid-etched glass and the fabric scrim allow a view to the prototype testing. Teke emphasized that collaboration
sky and changing weather. Fire suppression systems are continued throughout the design and construction phases,
integrated into the void within the beams and the electric with RPBW focusing on design and Arup overseeing
lighting is suspended below the structure. Low-volume daylight analysis and artificial lighting.
air supply is provided through a plenum beneath the
raised oak floor, which contains narrow gaps that Teke (2015) stressed that RPBW used a variety of
“breathe” to regulate ventilation and thermal comfort. qualitative daylighting tools, including physical models,
During much of the day, the artwork is illuminated by photography, renderings, scale prototypes, and full-scale
daylight. This is supplemented, as needed, by electric mock-ups. Underscoring the importance of physical
lighting. Control systems monitor light levels, thermal models, Teke (2015) estimates that 150-200 physical
conditions, humidity, and ventilation. Sidelighting is models were used to test design strategies, as well as five
controlled by adjustable translucent shading at the floor- full-scale mock-ups to explore the quality of light,
to-ceiling double glazing to alter the lighting levels, measure daylight performance, and resolve construction
control glare, and provide views to the site. Exterior detailing. Despite today’s digital rendering and computer
overhangs further mediate light and solar gains. analysis, Teke (2015) recommends that architects
continue to use hands-on models and mock-ups.
Piano’s galleries illuminate the artwork with 8. Seward, A. “A Luminous History.” Architectural
daylighting, while electric lighting is supplemental. Lighting, November 21, 2011. Available:
2. Reflected versus Diffused Daylight: Kahn uses http://www.archlighting.com/projects/a-luminous-
reflection and Piano uses diffusion to create history_o?o=7.
9. Teke, O., (2015). Piano Pavilion. Interview with author.
“luminous ceilings” in the galleries. Kahn captures a August 1, 2015.
small “slice of the sun” while Piano captures a “slice
of the sky.” Kahn provides sidelighting and views to
inner courts while Piano provides direct views to site.
3. Atmospheric Effect: Kahn uses light, shadow, and
darkness to create a contemplative and introverted
atmosphere. Piano dispels the darkness and shadows
to fill the gallery with diffuse light, creating an open
and spacious atmosphere connected to site.
4. Integrating Architecture, Daylight, and Technology:
An elegant integration of daylight, structure,
materials, and systems is found in both projects. After
four decades, Piano raises the bar for energy design
performance in contemporary museums.
5. Qualitative and Quantitative Assessments: Kahn and
Piano designed and tested the galleries through
rigorous qualitative and quantitative methods,
including physical models, sketching, renderings,
mock-ups, prototypes, and computer simulations.
ACKNOWLEDGEMENTS
The author gratefully acknowledges Onur Teke, RPBW, and
Arfon Davies, Arup for interviews, graphics, and daylight
studies. Seda Kacel and Benson Lau, University of
Nottingham, generously granted permission to publish
research graphics. The School of Architecture, University of
Minnesota, provided research support for Fiona Wholey.
ENDNOTES
1. Davies, A., (2016). Piano Pavilion. Interview with author.
January 12, 2016.
2. NOAA. Dallas/Fort Worth Climatology. NOAA.
Available: http://www.srh.noaa.gov/fwd/?n=dfwclimo.
3. Falkenberg, P. 2013. “Louis Kahn, architect.” Archivio
Nazionale Cinema d’Impresa. YouTube. Available:
https://www.youtube.com/watch?v=ZbE3rmh62x4.
4. Kacel, S. and B. Lau, (2013). “Investigation of the
Luminous Environment in Louis I. Kahn’s Kimbell Art
Museum.” PLEA 2013, Munich, Germany, September 2013,
pp.1-6.
5. Kimbell Art Museum, (2013). “A Conversation with
Renzo Piano.” YouTube video, November 19, 2013.
Available: https://www.youtube.com/watch?v=LvZlN1YqeXs.
6. Kimbell Art Museum, (2016). Available:
https://www.kimbellart.org/architecture/kahn-building.
7. James, P. “Renzo Piano Pavilion, Kimbell Art Museum.”
Mondo, Issue 78 (April/May 2014), 48-52.